In recent editions

Renowned both in Cuba and many parts of the world for excellent performances and the artistic quality of its young members, the eastern Cuban, Camagüey Ballet Company (BC) is celebrating its 50th birthday in 2017.

It is difficult to think of a city or capital of any country without its theater, a place that offers a necessary escape; that public place whose origins go back in time, and to which one comes as spectator or accomplice, or both…a place that is a witness of events withstood by the life and culture of its people.

Celebrated Cuban artists, such as ballet dancers Carlos Acosta and José Manuel Carreño, jazz pianist Gonzalo Rubalcaba, painters Pedro Pablo Oliva, Roberto Fabelo and Flavio Garciandía, all have something in common. All of them attended, at some point in their lives, Cuba's art schools, discovering the subtle mysteries of artistic creation.

For the past 27 years the people of Santiago de las Vegas take to the streets on February Fifth for a celebratory funeral of a mythical character named Pachencho, who returns to life to the rhythm of drums and shots of rum.

A few metres from Havana’s western beaches and busy Fifth Avenue, stands the Trompoloco big top, bearing the name of a popular Cuban clown from the 1960s and 70s, and the entrance and complement to the Isla del Coco (Coconut Island) Amusement Park.

One cannot discuss puppets in Cuba without noting the monumental work of Teatro de Las Estaciones (Theatre of the Seasons), a group created just 15 years ago in the western town of Matanzas, committed to preserving the heritage of puppet theatre in Cuba.

The Cuban public's expectations were more than satisfied in July with the London Royal Ballet's five memorable performances notable for choreographic diversity and the long awaited performances by Spanish Tamara Rojo and Cuban Carlos Acosta.

In Cuba, Carlos Borbón, no relation to the reigning king of Spain, gives interviews with the same originality with which he leads his players. On the last Saturday afternoon of each month, Havana's "Spontaneous, or Playback, Theatre" occupies a roof in Old Havana, where the audience not only finds satiric, reflective or tragic performances but also gets involved in bidirectional communication, the roles of emitter and receiver fusing in the heat of the tropical sun.

It was the middle of the night, but Madera Street in Havana’s Plaza de Armas was alight and, in the best of real and imagined scenes, therewas dancing within the luminous shadows of the columns of the Captains’ Palace. This was 1996 and the first time Retazos.

La Colmenita (the little beehive) emerged from a dream and hobby of Carlos "Tin" Cremata when he was still a student at the Cuban Theatrical Art Institute directing aquatic and judo performances with young people. The nucleus of La Colmenita was formed from some of these youngsters and children of three, four and five years from the popular television series "Cuando yo sea Grande" that he also directed.